Peter Fischli

  • the Best of 2015

    TO TAKE STOCK OF THE PAST YEAR, ARTFORUM ASKED AN INTERNATIONAL GROUP OF ARTISTS TO SELECT A SINGLE IMAGE, EXHIBITION, OR EVENT THAT MOST MEMORABLY CAPTURED THEIR EYE IN 2015.

    EMRE HÜNER

    “Greer Lankton: LOVE ME” (Participant Inc, New York) Perhaps the greatest strength of Greer Lankton’s retrospective at Participant was its sincerity, the honesty with which the artist’s bracing work takes viewers into her world. Lankton’s carefully crafted dolls, placed alongside personal items and ephemera culled from the Greer Lankton Archives Museum (G.L.A.M.) and numerous photographs of the artist taken by

  • A CULTIVATED POISE: PORTFOLIO IN MEMORY OF DAVID WEISS

    AS A YOUNG ARTIST just starting out, David Weiss made a series of drawings that he published in a small edition in 1975, and in the ensuing decades this Regenbüchlein, or “little rain book,” has achieved an almost mythic status. After David died this past April, I took it out again, for the first time in many years, and was struck by the dedication printed at the beginning of an otherwise wordless volume: “To my friends.” What might seem a hackneyed sentiment certainly now, in retrospect, takes on a profound significance. For though David did, of course, have many friends, more importantly he

  • UNTITLED: A PROJECT FOR ARTFORUM

    The Swiss artists Peter Fischli and David Weiss are putterers who make things they needn’t make; items that are usually useful achieve futility in their hands. They are a miniguild, producing an art that goes undercover, that slips by, momentarily undetected in a scan of one’s surroundings. In the summer of 1992, for example, in Schorndorf, south Germany, they took over a prefabricated one-car garage behind an Imbiss Bude (snack shack) in an expanse of farmland. Through a small window one could spy the props of a nondescript existence—a worktable, modest cooking facilities, dog food, a comfortable